He was born, as Freddie says, with four extra incisors, and the larger oral chamber is the reason for his large vocal range. Mercury, who played piano and guitar, is of course depicted as being possessed of a formidable vocal technique, a remarkable near-operatic voice-but it’s presented as a natural gift that’s also a curse. The movie shows no years of dedicated practice or earlier musical life or ambition his sole primordial effort is a song that he scribbles on a piece of paper and keeps folded up in his pocket while working, as a young man in London, as an airport baggage handler. “Bohemian Rhapsody” offers nothing of Mercury’s childhood in Zanzibar, his schooling in Bombay, his lifelong devotion to rock and roll. It’s mostly interested in his private life in relation to a single big idea: success and its price. (In the movie, Freddie-as we’ll call the character, to distinguish him from the historical Mercury-states that he’s bisexual and is shown to be in two long-term relationships with men, though it only hints at any casual ones.) But “Bohemian Rhapsody” isn’t a comprehensive bio-pic, nor a full-spectrum consideration of Mercury’s life-it is a clearly and carefully oriented vision of his career. In fact, it is clear about Mercury’s sexual orientation. The movie has been criticized for its lack of attention to the specifics of his sex life. If so, “ Bohemian Rhapsody,” a superficially clichéd yet thematically unusual bio-pic about the band’s lead singer and guiding spirit, Freddie Mercury ( Rami Malek), delivers that secondhand rock memory by rooting its story less in the primary experience of the band’s performances than in a subtly revisionist, sharply current view of Mercury’s life and work.
It may be that the only way to experience a full measure of Queen nostalgia is not to have heard the band the first time around-to indulge in vicarious nostalgia, a homecoming to somebody else’s home.
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